By Dave Swanson - Summit FM Contributor

The Blind Boys of Alabama are an American institution, keepers of the flame of a musical tradition and cornerstone. Founded in 1939 in Talladega, Alabama, the ensemble has, obviously, changed members several times over the decades, all the while maintaining the legacy established way back when. Over those years, they were always there, if mainly in the shadows of the larger music world. At some point in the early 1980s, it was like a light switch went on, and suddenly, the praises of these legends were being sung. Established rock and rollers and blues acts like Lou Reed, Prince, Peter Gabriel, Bonnie Raitt, and Bon Iver collaborated with the group, and mainstream success was calling.

In 2003, their Christmas collaborative effort, Go Tell it on the Mountain, was released to much fanfare and success. Among those making appearances on the album were soul legends Solomon Burke, Mavis Staples, and Aaron Neville, who, alongside rockers Chrissie Hynde, Tom Waits, and Richard Thompson, brought the spotlight to the project. Toss in the jazz artistry of Les McCann and the contemporary styles of Me'Shell Ndegeocello and Shelby Lynne, and it is no wonder why the album became a touchstone of modern gospel, blues, and soul. It won a Grammy that year for best contemporary gospel recording while charting at number one on the gospel charts.

The core band on the recordings was equally a powerhouse: Duke Robillard on guitar, John Medeski on organ, Danny Thompson on bass, and Michael Jerome on drums, all A-list players. Their take on Christmas classics like “Oh Come All Ye Faithful,” “White Christmas,” “Little Drummer Boy,” and “Joy to the World” presented those standards in a new light, while the collaboration with Tom Waits on the title track was nothing short of brilliant.

Since their acceptance in the mainstream, they have had their music used in countless films and television shows, performed for two US presidents, won more Grammy awards, and kept a connection to rock and soul artists via more collaborations. They even recorded their own versions of rock and roll/soul classics from the Rolling Stones, Funkadelic, Curtis Mayfield, and Stevie Wonder, to name a few.

The album in discussion here, Go Tell it on the Mountain, is a joyful soundtrack to any given Christmas. It rings out with joy, hope, and love and seems to gain ground with each passing year.

Join us for a meaningful, sober-friendly New Year's Eve afternoon celebration at House 330 at 532 W. Market St. in Akron. The day will kick off with music from The Summit FM and delicious offerings from House 330 vendors, including Secret Pizza and Taco Tuesday specials.

At 2:30 p.m., Marc Lee Shannon will host a recovery-focused meeting to help you kickstart your intentions for 2025. Then, enjoy an uplifting Music and Message performance by local musician and advocate Chrissy Strong, who brings her unique perspective as an artist in recovery.

Throughout the event, Art+ Wellness activities, hosted by Amber Keaton Art, will provide opportunities for creativity and mindfulness. This is the perfect chance to reflect, recharge, and celebrate the new year with intention.

Schedule (subject to change):

1:00-2:00 p.m. Enjoy music by The Summit FM and delicious food from House 330 vendors, including Secret Pizza and Taco Tuesday specials.

2:30-3:00 p.m. Recovery-Focused Meeting: Kickstarting Intentions for 2025, hosted by Marc Lee Shannon.

3:00 p.m. Music and Message performance by local musician in recovery, Chrissy Strong.

4:00 to 4:45 p.m. Berhane Okantah, local multi-instrumentalist, will lead a casual drum circle to enhance wellness and kick off the New Year right! All ages welcome and no experience necessary.

Art+ Wellness activities will be ongoing throughout the event, hosted by Amber Keaton Art

"Crank It Up" is a new feature on Summit Now spotlighting five favorite songs as chosen by a different Summit listener or member. Get ready to crank it up!

Guest Contributor: Noelle B.

1. "Surfin' Bird" by the Trashmen This song brings back memories of not only hearing it on the radio when I was a kid, but I think the Ghoul or Big Chuck used to play this on their late-night shows.
   
2. "Don't Eat the Yellow Snow" by Frank Zappa My older sisters used to have Zappa albums, and I always thought this song was so funny. (Don't go where the huskies go...)
   
3. "Coming to Take Me Away" by Napolean XIV An epic song! I loved it as a kid; as a nurse, we sang this during "appropriate" moments. I recorded this on my cell phone the last time The Summit FM played it so that I can use it as a ringtone.
   
4. "Happy Boy" by the Beat Farmers I love the singer's baritone voice, and it really is a happy song. A coworker saw the Beat Farmers play on a cruise ship last year in Cabo and said they were really good! I think the kazoo and the gargling really do it for me on that song! (Hubba, hubba...)
   
5. "Peaches" by the Presidents of the United States When this song was released in 1996, we were moving to Texas, and on that God-awful long drive, I heard this song play like a million times. So, we were moving to the country and actually did eat a lot of peaches, but this song will always bring back memories of the trip. I just bought the CD at The Exchange recently, and I love that the young folks working there never give me the side eye when I ask them to retrieve older music from the locked case.  Some of them will ask me to give them some history of music they've never heard before!

By Dave Swanson - Summit FM Contributor

Like many subgenres, country rock has somewhat murky origins. Who was first to the table, who did it best, who was most successful, and so on. While not being first, no one has been more deeply connected to the concept of 'country rock' than Gram Parsons.

Born in Florida in 1946 and raised in Waycross, Georgia, Parsons was destined for a life in music. His musical roots date back to the influence of the early 60s folk boom, a path that would eventually lead him back to his first love, country music. 

In 1966, he formed the International Submarine Band, which was signed to LHI Records, a label run by singer/songwriter/producer Lee Hazlewood, at the time, a hot property due to his recordings with Nancy Sinatra. The band issued one album, Safe At Home, and was briefly signed to Columbia Records, who released one killer single, “Sum Up Broke,” b/w “One Day Week,” before falling off the face of the earth!

In short order, Parsons turned back up in Hollywood, joining the Byrds to replace the departed David Crosby. It was at this time that Parson's influence took shape. The Byrds were at a crossroads, with band leader Roger McGuinn undecided about what direction to follow following the 'Notorious Byrd Brothers' LP. He thought a straight country trip might be the answer but was just as convinced that incorporating newly acquired synthesizers and other electronic sounds was his destiny. Parsons, along with partner in crime Chris Hillman, pushed the band onto the country path and never looked back.

The landmark, if somewhat over-rated, Sweetheart Of The Rodeo, was released in the summer of 1968 to a less than overwhelming response. Part of the problem was that most of Parsons' performances were kept off the album due to contractual issues. The album, though fine, lacked a certain exclamation point that Parsons' soulful vocals added. Those original vocals have been released over the years, proving how much more solid the LP would have been with Parsons’s recorded involvement. The band was falling apart, and both Parsons and Hillman saw what could be. They left the Byrds to form the highly influential Flying Burrito Brothers.

FBB released two albums of first-rate country rock. They had killer songs, performances, style, and vibe, yet the band and albums went nowhere! Good reviews never turned into sales. They did perform at the infamous Altamont concert, which led to a deep friendship between Parsons and Keith Richards. As the story goes, Parsons long claimed that Richards asked him to come up with a steel guitar part for the song “Wild Horses,” which led Gram to claim the song was written for him, at which point he recorded a version with the Burritos, which was released before the Stones own version. Though the Burritos would continue, Parsons left the band to follow his muse towards a solo career. After hanging out endlessly with Richards, he eventually returned home to the USA and began putting together what would become G.P., his first solo album. 

Recorded in late 1972 and released in January 1973, G.P. was a perfectly captured snapshot of where Parsons was at, both musical and personal, at that moment in his life. He had signed to Reprise Records, which released the album featuring members of his touring band, the Fallen Angels. At this time, he had discovered the one person who would be his perfect counterpoint, Emmylou Harris. Her beautiful vocals and presence proved the perfect flipside to Parsons, and their voices blended like the prime recipe.

The album is filled from start to finish with classics such as “Still Feeling Blue,” “A Song For You,” “Streets Of Baltimore,” “She,” and “The New Soft Shoe,” all of which became considered Gram classics over the years. 

The album received extensive press coverage, and the band's live shows were a joy. However, for whatever reason, they could not rise above the swamp of cult status. At the same time, the Eagles were quickly becoming huge, selling tons of records influenced by all that Parsons had put on the table first. 

Here is where that argument about who was first gets dragged in. Yes, Parsons was among the first to do the country rock thing and arguably the one who did it best; however, the Byrds were their pre-Parsons as heard on early albums. Michael Nesmith tried to work country into the Monkee’s vocabulary as early as their first album. The Beatles had covered Buck Owens. Elvis and the Everly Brothers spoke the language, as did Jerry Lee Lewis and Buddy Holly. The answer is, of course, that country music was always part of the DNA of Rock and Roll!

That said, G.P. has become a benchmark of sorts in the genre, and its follow-up, the posthumously released, 'Grievous Angel,' served as part two of a one-two punch. The legend and legacy of Gram Parsons can, in large part, be traced back to Elvis Costello, who covered two Parsons songs on his 1981 album Almost Blue, and even more significantly to Sid Griffin of the Los Angeles band the Long Ryders, who sang the praises of Parsons and his music to anyone who would listen. He was the first to write a biography on Gram, routinely perform his material, and be involved in anything Parsons-related for years to come. Between those two fans, and in later years bands like Uncle Tupelo, Gram was elevated to cult status and is now routinely mentioned as a pioneer of not only 'country rock' but the entire American genre, and they're not wrong.

G.P. is not only essential but also a significant piece of the puzzle of where rock and roll headed once the explosion of the 1960s music world was rebuilding and finding a new road ahead. While that may sound a bit lofty, the bottom line is that it is one great batch of songs.

By Matt Anthony - Summit FM Digital Media Specialist

Click. Click. Click.

The dashboard lit up, and the 2012 Hyundai wanted to kick over. But it wouldn’t. I tried an Our Father and a Hail Mary. I tried a meditation technique to try to stay calm. I even inserted the key into the ignition after rotating it three times in my hand while chanting in Latin. You know, to add some extra mojo.

But no amount of voodoo could derail the impending call I would have to make to a tow-truck company. On a Sunday. In Dearborn, Michigan.

And isn’t that how it goes? The plan, with no Browns game on the itinerary, was to enjoy a casual Michigan breakfast with Donna and an old radio pal, discuss the previous evening’s Turnpike Troubadours show at Masonic Temple Theatre in Detroit, and take the long way home through northwest Ohio.

But plans get augmented without permission or reasoning. One minute, you’re pondering a hot dog at Tony Packo’s, and the next minute, you’re trying to find a place to stay the night somewhere until your lifeless corpse of a car can get resuscitated the next day.

Forty-five minutes later, the tow truck arrived. It was a young kid, friendly, but preparing to load up our car on his bed with the same mechanical enthusiasm as he probably exhibited earlier in the day with someone else’s vehicle. “You guys can go sit in the front seat of the truck if you want,” he yelled through the early, gray afternoon chill.

The warmth of the truck’s interior felt good. But the thought of trying to find a room to stay in, along with the uncertainty of everything else, brought me back to reality. Having car trouble miles from home really sucks.

Rumbling down Telegraph Road, we approached an AutoTech Clinic location.

“That guy’s really good,” our driver blurted out above the din of his diesel engine after asking me where he should dump our car.  I glanced in the rear-view mirror at the Hyundai back on the bed. It looked forlorn like a sick doggie headed to the vet. “I wish they were open on Sunday,” I responded.

We had turned down an access road, and he suddenly wheeled the truck around. “Looks like they had a bay door open.  Maybe they are.”

But when I arrived at the AutoTech location, it was clearly closed. So, I pulled out my phone to locate the mechanic the insurance company had assigned me. 

But our driver also started looking through his phone. And then, like an underperforming team in a game getting a momentum swing, the direction of the day suddenly changed course. Our driver (who I would later learn was also a mechanic, convinced that our lifeless vehicle merely needed a new starter) started calling location after location. Phones rung off the hook. Answering machines piled up. But he would not be deterred.

Finally, after the eighth or ninth call, a man with what sounded like a thick Arab accent answered the phone at a Quick Lube shop nearby and told us to come by. Donna pinched my leg as if to say, ‘Is there a chance we might not have to stay the night in Dearborn, Michigan?’

Fred Rogers was once quoted as saying, “Look for the helpers. You can always find the helpers.” Later that afternoon, while crossing over the Ohio state line and rolling past the ‘Welcome to Toledo’ sign, I thought of Mr. Rogers and his quote, and a tremendous wave of gratitude washed over me. 

I thought of my friend, Mark, who we met there for breakfast at that Bob Evans, who returned with a pair of jumper cables, to no avail. I thought of the elderly couple who saw us sitting there an hour later with our car-hood open, who offered to drive us somewhere. And I thought of the guy in the Lions sweatshirt who peered down into the engine and then just shook his head, helpless.

And, certainly, I thought about that guy at the Quick Lube, open on a Sunday, who snagged his assistant and, together, with repeated attempts, managed to bring a motionless 2012 Santa Fe back to life after putting a battery charger through its paces. I can still see the smile on his face, looking at me while gunning the engine and screaming, in broken English, “You need a new starter. Don’t turn this car off again until you’re home in Ohio!”

But I’m most grateful for a tow truck driver who went out of his way to help when he could have simply dumped us off at an auto repair shop somewhere in Dearborn, leaving us to fend for ourselves. While using my E-Z Pass to get on the turnpike, with Turnpike Troubadours blaring, I made a silent promise to myself to remember to be a better helper.

By Dave Swanson - Summit FM Contributor

Formed in 1981, 10,000 Maniacs began their recording career with a self-released LP, Secrets of the I-Chingin 1983. While it failed to ignite, it did bring attention to the band, who, in turn, signed with Elektra Records. The follow-up, produced by the legendary Joe Boyd, the man behind the board for the likes of Nick Drake, the Incredible String Band, Pink Floyd, and many others, seemed a good fit for the band's folk-based roots. The album The Wishing Chair was released, and things began to bubble for the band, who were building a following in the 1980s tradition of college radio airplay.

With momentum behind them, Elektra decided to up the game. They called in producer Peter Asher, who had a lengthy track record of turning in hit records for artists a bit off the beaten path. The result was the band's third LP, In My Tribe, which would prove to be the calling card they had been hoping for.

Between the previous album and this one, founding member, guitarist John Lombardo, left the band, leaving not only a space in the band's psyche but also in the songwriting department as he and singer Natalie Merchant often were collaborators. With Lombardo gone, Merchant began working with other band members, which proved to be an inspiration. Most of the album's dozen tracks were collaborations between Merchant and others. “Like The Weather” and “What's The Matter Here?” were released as singles that, while failing to set the radio on fire, did find a home on college airwaves. 

Then, there was the matter of their cover of Cat Steven's classic “Peace Train.” The song was recorded for the LP and appeared on initial pressings. Being a well-known song to begin with, it started to garner radio. It was initially the album's calling card, that is, until Stevens, aka Yusef Islam, got tangled up in a religious controversy revolving around author Salman Rushdie and his book The Satanic Verses. With Stevens, a full-fledged Muslim, the views expressed in the Rushdi book were heaped with controversy by the Muslim community. As Stevens/Islam not only sided with but supported the killing of Rushdie, the Maniacs found themselves in the middle of a controversy not of their own making. The song was removed from subsequent pressings of the album. As the story goes, the band was never too keen on recording the song, but it was suggested by producer Asher. It has largely been unavailable since.

The momentum the band had built up continued as the band hit the road, seeing audiences grow date by date. Band friend Michael Stipe of R.E.M. contributed vocals on “A Campfire Song,” and their connection to R.E.M. helped the band rise in status. The album, nearly titled Bow to Mecca and You Happy Puppets(according to a 1987 interview with Merchant), would eventually rise to No. 37 on the Billboard charts and sell over two million copies.

The band would continue to ascend, but in 1993, Merchant left to pursue a successful solo career that continues to this day. The Maniacs, meanwhile, are also still active, but the ball really began rolling with 'In My Tribe', certainly an essential part of 10,000 Maniac’s history and a long-time Summit staple.

Celebrating Native American Heritage Day: The Lasting Influence of Native Cultures on Modern Music 

On Native American Heritage Day, we honor the profound contributions of Native cultures to modern music. Their rich traditions—expressed through rhythms, instruments, and storytelling—have shaped countless genres, leaving an enduring legacy. 

 Below, we highlight how America’s First People have influenced music history:  

1. Traditional Roots in Modern Music 

Native American music is deeply rooted in spiritual and cultural traditions, serving as a foundation for storytelling, celebration, and connection. Its distinctive elements—such as percussive rhythms, haunting flute melodies, and vocal chants—have not only preserved cultural heritage but also profoundly influenced modern genres, from rock to ambient music. 

• Drumming and Rhythms: The drum, often called the "heartbeat" of Native culture, has influenced percussion in rock, jazz, and electronic music. 

• Flute Melodies: The soulful tones of the Native American flute, popularized by artists like R. Carlos Nakai, have shaped new-age, jazz, and classical music. 

2. Pioneers Across Genres 

Rock and Blues 

• Link Wray (Shawnee): His 1958 hit Rumble introduced the power chord, a precursor to punk and heavy metal. 

• Robbie Robertson (Mohawk/Cayuga): Guitarist for The Band, he infused Native themes into his music, including Music for the Native Americans. 

• Buffy Sainte-Marie (Cree): A folk and protest icon, her song Universal Soldier became an anthem for social justice and Native rights. 

Hip-Hop and Rap 

• Supaman (Apsáalooke): Fuses rapping, beatboxing, and traditional Native music to explore identity and resilience. 

• Frank Waln (Lakota): Addresses activism, environmental issues, and historical trauma through his powerful lyrics. 

Pop and Rock 

• Redbone: This Native American rock band gained fame in the 1970s with their hit Come and Get Your Love, celebrating Native pride. 

3. Blending Tradition with Modernity 

Many Native artists seamlessly combine traditional sounds with contemporary styles: 

• Joanne Shenandoah (Oneida): Wove Iroquois melodies into folk and classical music. 

• A Tribe Called Red (The Halluci Nation): Created “powwow step,” blending powwow music with electronic beats. 

4. Advocacy Through Music 

Native musicians often use their art to raise awareness about history, culture, and current issues. Their music serves as a tool for activism, ensuring Native voices are heard and their heritage preserved. 

Native musicians have long used their art as a platform for activism and cultural preservation: 

• Buffy Sainte-Marie (Cree): Her song Bury My Heart at Wounded Knee addresses the historical injustices faced by Native Americans, using powerful lyrics to educate and inspire action. 

• Frank Waln (Lakota): His track Oil 4 Blood highlights the environmental and cultural devastation caused by pipeline projects, turning music into a call for justice. 

• Supaman (Apsáalooke): Combines traditional Native dance with hip-hop to emphasize resilience and identity, often performing at schools to inspire younger generations. 

5. A Vibrant Legacy 

Native American artistry continues to shape global music, bridging ancestral traditions and contemporary innovation. From iconic rock legends to groundbreaking genre-blenders, their music reflects the enduring power of cultural expression. 

To explore contemporary Native American music, visit the Native American Music Awards. 

By Summit Now Contributor Marc Lee Shannon

In the spring of 1979, I was twenty years old and away from home, really away, for the first time. Six months prior, I was surprisingly accepted to an up-and-coming music/technology school named G.I.T., which allowed 120 students per semester. Looking back, I am confident I was #119 on the musical training and education ranking scale. Today, 45 years later, I realize how lucky I was to take the school entrance test and subsequent phone audition interview, as apparently, the examiners heard something I was unsure of at the time:  

Talent.  

The first part of the school's curriculum focused on sightreading music, harmony, and composition. I struggled with these areas of study, so in my apartment at the corner of Hawthorn and N. Orange, across from Hollywood High School, I made my bedroom closet into a practice den and spent every possible moment away from classes, trying desperately to catch up to the rest of the students, all of whom seemed better suited for this school than me.   

I barely came up for air for the first 6 months.  

In the second half of the year-long program, I had a breakthrough. In one of my first performance classes, I was assigned 2nd guitar, bass, drums, and keys and was tasked to arrange and perform a Jazz standard. I had always leaned towards more blues-based music, so I picked "All Blues," a Miles Davis tune that first appeared on his landmark Kind Of Blue record from 1959. I worked up an arrangement I thought was decent, laid the charts before my bandmates, and called the downbeat. I took the first and last solo, giving everyone their due, and after the tune finished, the class softly and politely clapped.  I had a sinking feeling that I had blown it and, once and for all, should accept I was not good enough; I would not cut it at this level of talent and competition. The teacher, whose last name escapes me but was appropriately nick-named "Kimbo," began his critique by mentioning the flaws in my arrangement composition and then suggested some improvements. He was stern but fair and kind, where he did not have to be. I remember it all after all these years, especially the last thing he said. Something I will never forget.  

"And kid, you were right out there (pointing to the edge of the stage in front of my classmates, some of the best budding guitarists in the world), and you were bringing it!" 

His smile and that one moment of encouragement, that single compliment, were enough music-soul food that this musician needed. I knew from that moment that I could do this. I could make it with the right amount of never-give-up effort, and I would survive in L.A. and someday make a name for myself. A spark in the single encouraging sentence ignited a new trajectory for me. It infused the hope I needed to keep going and striving for my dreams.  

I often think of this moment when faced with a younger, bright-eyed newbie to the game. I remember what it meant for a kid from Akron to be recognized and given the nod of approval. You never know when what you say will make that kind of difference for someone with an ambition. It might be their turning point built on the back of your uplifting, kind words. This is the power we all hold to inspire others.  

That day in the performance class was a turning point, all due to a few kind words. It was the light of the fuse of my music career, all because of a compliment at the right time. All these years later, it is still something I remember, cherish, and try to pay forward. Because of that day, I will never underestimate: The Power of Encouragement.

By Sarah Swirsky, Summit FM Wellness Coordinator

Akron, OH – November 22, 2024—The Summit FM, Akron's musically adventurous public radio station, is excited to announce the launch of Wavelengths, a new streaming radio station playing mindful music designed to enhance relaxation and well-being. Beginning November 22, 2024, Wavelengths will be available to listeners via The Summit FM’s website and smartphone app, offering a soothing soundtrack to support a balanced, thoughtful lifestyle. 

With a focus on music that promotes calmness, creativity, and introspection, Wavelengths is a station for anyone seeking an oasis of sound during the hustle and bustle of daily life. Spotlighting the “lighter side” of the Summit FM music catalog, listeners will hear artists like Amos Lee, Tracy Chapman, Norah Jones, Enya, Jack Johnson, Keb’ Mo’, Indigo Girls, Trevor Hall, and many more.  

"Mindful Music with You in Mind" is the station’s guiding slogan, underscoring its commitment to creating an experience that nurtures the body and mind. Wavelengths is programmed by Andrew James, a longtime host and Director of Operations at The Summit FM, who hand-curates the station to bring peace and mindfulness to listeners. 

“Wavelengths is all about crafting a space where music can have a direct, positive impact on how you feel,” said Andrew James. “We’ve carefully curated a playlist that invites reflection, relaxation, and inspiration. I couldn’t be more excited to share it with our listeners.” 

Summit FM’s General Manager, Tommy Bruno, expressed his enthusiasm for the launch, noting the station's ongoing commitment to wellness programming. 

“Our rich history of recovery awareness aligns with Wavelengths, a project that deepens our commitment to the wellness of our community,” said Bruno. “In the ever-growing world of digital media, we must continue offering content that uplifts and inspires. Wavelengths provides a unique opportunity for our listeners to enjoy mindful, restorative music—whether unwinding after a long day, practicing yoga, or simply needing some quiet moments of peace. This is just another step in The Summit FM’s mission to enrich lives through the power of music with thoughtful, purposeful programming.” 

Listeners can tune in to Wavelengths starting November 22, 2024, by visiting thesummit.fm or downloading The Summit FM app on iOS or Android devices. With no commercials, Wavelengths offers a fresh, calming addition to the Summit FM family of stations.